In Alexander Ullom’s audacious cinematic offering, “It Ends,” four freshly minted college graduates find themselves spiraling down an endless, bleak road devoid of exits. Think Sartre with a modern twist, as this hangout horror film dives headfirst into the murky waters of existential dread — a theme that has pervaded art and philosophy for centuries. Yet, don’t let its familiar premise lull you into complacency; it’s a tight, low-budget thriller that gradually unfurls its overtly pulpy layers, revealing an intricately woven narrative that’s both tonally revelatory and laden with promise, showcasing the vigor of its youthful cast.
What strikes the viewer instantly is the brisk, almost surgical precision with which the characters are introduced. We’re thrust into their world mid-conversation, as Tyler (Mitchell Cole), gruff yet introspective from his military training, picks up his three closest friends in his sturdy Jeep Cherokee. The banter erupts into a wild debate: could 50 hawks overpower a man wielding a rifle? There’s James (Phineas Yoon), the ambitious puzzle-maker, grappling to twist this farcical scenario into a logical conundrum from the front seat. Meanwhile, backseat dynamics unfold with Fisher (Noah Toth), who attempts to keep the mood light, and Day (Akira Jackson), whose tranquility in the chaos oscillates between engaging in heated discussions and contemplating her uncertain future.
As the friends navigate their peculiar, twilight landscape, the camera remains tethered tightly within the sanctuary of the vehicle. Their camaraderie unfolds in overlapping dialogues where friction simmers just beneath the surface. With each moment outside the car encapsulated in soft-focus haze, tension escalates as they encounter the eerie stillness of the woods populated by desperate souls pleading for help and threatening to abscond with their only means of escape. It becomes clear — their solution is simple yet fraught with dread: keep driving, no matter the contours of the endless road ahead.
Days morph into nights, and the mundane necessities of life — fuel, nourishment, rest — fade into the background, as the quartet wrestles with spiraling paranoia and escalating desperation. Speculations morph into theories weaving through their frenzied minds: is it sci-fi? A shared hallucination, perhaps? Ullom deftly dismisses all clichéd explanations while drawing viewers closer to the heart of their psychological ordeal. With each confessional peek into their innermost fears, a curious duality emerges — the struggle to rationalize their nightmarish plight simultaneously strengthens and strains their bonds. The film pulses with a surreal mix of despair and levity, transitioning effortlessly between dark humor and existential gloom.
These tonal shifts are deliberate, rooted deeply in the richly drawn personas who evolve — or sometimes devolve — based on the mounting revelations of their nightmarish predicament. Time flits away, or perhaps it stands still; regardless, the notion of abandoning their trusted vehicle — and each other — looms large, casting a shadow of trepidation upon their fractured alliance.
Given the youthful vigor of Ullom and his talented ensemble, “It Ends” serves as a groundbreaking gateway for a generation eager to navigate newfound existential inquiries. The film captures the tension of friendships teetering on the edge, evoking an underlying fear of being unmoored from each other at a time when the world feels fervently uncertain.
The film’s abrupt spiral into isolation and danger mirrors sentiments reminiscent of the early pandemic — yet “It Ends” transcends mere allegory. It artfully critiques the rigid constructs of genre cinema, subverting audience expectations and challenging the very notions of artistic certainty amidst sociological anxieties. The characters’ phones, devoid of connectivity, become unexpected lifelines, eliciting moments of humor and nostalgia.
For this generation, birthed into chaos — political, economic, and environmental — “It Ends” mirrors the tumultuous journey of self-discovery, exposing vulnerabilities and probing the depths of interpersonal connections. In peeling away these layers, the film reveals an intricate tapestry: a rich exploration of community forged under bizarre duress, hinting that perhaps, amidst absurdity, salvation is nestled within the bonds we forge with one another.
